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`For those who are unfamiliar with the group, She & Him could be more aptly named “She & (brief supplementary cameos from) Him.” Or maybe “She Sings About Him.” Of course, those do not sound nearly as good.
The band, featuring actress turned singer Zooey Deschanel, perhaps best known for her role in “500 Days of Summer,” and producer, singer, and guitarist Matthew Ward (better known by his stage name, M. Ward), formed in early 2007 after the pair met on the set of “The Go-Getter,” in which Deschanel had a starring role. After being asked to perform a duet for the end credits, the two found they shared musical interests and inspirations. On a whim, Deschanel sent Ward years of demos she had recorded, and the two began a musical collaboration.
In March 2007, the actress made the trip to Ward’s Portland, Oregon recording studio and made the transition to singer. After three recording sessions and months of mixing, their debut album, “Volume One,” was released March 2008 to rave reviews from critics and fans.
While the band name implies a duet, most of the songs are performed by Deschanel alone, with Ward chiming in occasionally in the background. Most of his work for the band is done in the studio; he produces, she writes and performs.
“Volume Two,” the band’s second project together, takes them further down the same path. Released March 23, the album is a 13 track homage to relationships, mostly the sweet, lovey-dovey stage before things get more serious.
While it is respectable that Deschanel writes her own songs, it seems she is still finding her footing as a songwriter. Her lyrics are largely simplistic and at times cheesy and clichéd. With choruses like “well it’s alright, it’s ok” and verses like “I like to learn things slow, I like learning a lot,” it’s left up to the vocals and instrumentals to compensate.
Most of the time, they do. In “Thieves,” the opening track, Deschanel dominates the song with her pretty, echoey soprano swathed in a 50s slow-dance feel. Ward injects a hint of country to the arrangement, just enough to make the song a little different. Other tracks have a prominently 50s feel; “Ridin’ in My Car,” has a distinct Ronettes “Be My Baby” feel, though the sense of desperation has been severely toned down. “Over It Over Again,” a song about an inescapable yet unhealthy relationship, has the same type of sound, but still fails to reach the emotional level of its inspiration. It’s all the love without the urgency.
This could be due to the band’s other big influence, 70s AM radio tunes from the Beach Boys and others. The laid back California sensibility is plain on the album, and it makes for great cruising music. “Lingering Still,” which is basically three minutes of not saying much backed by a catchy tune, would be perfect for driving to the beach. “Don’t Look Back” has the same sensibility, though it does seem to try a little harder.
All of the tracks are about love, but some are definitely more sugary than others. In “Home,” as Deschanel sings “it doesn’t get better than home, now, does it,” one gets the impression of a happy couple skipping through a park hand-in-hand, probably in the first half of a romantic comedy. “I’m Gonna Make It Better,” with sweet little hiccups in Deschanel’s delivery, toes the line of being too cutesy to tolerate.
A couple tracks on the release do manage to break out from the typical She & Him formula. “Sing,” while it still has that 50s impression, is a little more relaxed; it’s not jumping all over the place to get your attention. It’s also a great example of the more classic quality in Deschanel’s voice, not always apparent in other tracks when she’s so busy making it sound charming she forgets the grace she is capable of.
“If You Can’t Sleep,” the most distinctive of the tracks, utilizes the singer’s beautiful tonal quality, sung over a humming chorus, to create an ethereal lullaby. In terms of arrangement, this is a perfect ending track.
This is not groundbreaking music, but it has its appeal. Deschanel’s voice, while not perfect, is warm and satisfying. Ward’s production and instrumentation do well to complement the vocals. The band, while not exactly a musical duo, collaborate together to create very pleasing music.